And so the man who had done so much to advance the art-science of living pictures for the knowledge and enjoyment of vast millions in the centuries to come spent the happiest days of his life looking towards the dead and buried past. A quarter of a century later, Kircher was able to revise and enlarge his book on _The Great Art of Light and Shadow_ and have it printed in a great folio edition in 1671 by John Jansson of Waesberge at Amsterdam. Conditions had changed greatly--Kircher was no longer a newcomer at Rome, suspected of being in league with the devil on account of his powers with mirrors and lenses and his amazing projected images. His fame as a universal scholar, “The Doctor of a Hundred Arts,” had spread throughout the European world. Men now had begun to realize there was much of great value in his _Magia Catoptrica_ or Magic Projection with mirrors. Jacob Alban Ghibbesim, M.D., professor at the Roman College, in the caption for Kircher’s portrait, used these words: “This man and his name are known to the ends of the earth.” In 1670 Kircher had a new patron, John Frederic, to whom he dedicated his work. The Emperor Ferdinand, who sponsored the first edition, had died in 1657. Europe was gradually recovering from the effects of the Thirty Years’ War. Louis XIV was establishing an all-powerful personal rule in France. Holland and Switzerland were jealously guarding their newly won independence. Sweden was an important European power. Great Britain had a short-lived republic under Cromwell. In the New World the English had consolidated their position by driving the Dutch out of New Amsterdam, occupying New York in 1664. Much of the New World had yet to be explored. “Vagabonds and imposters” had carried the magic lantern everywhere during the quarter century following its announcement, usually claiming it as their own invention. Kircher thought the time had come for him to set down in more detail various additional applications of his magic lantern, invented 30 years before. The only additions Kircher made to the entire tome were in the section on the magic lanterns. Two new plates were made, showing room and box-type projectors and also added was another special plate on a particular application demonstrating that Kircher used the lantern idea to tell a story. (Illustration facing page 49.) Let Kircher now explain about Walgenstein, a Dane, one of his first and most successful imitators in the practice of the magic lantern: Concerning the construction of Magic Lantern or Thaumaturga (Wonder Projector)--